The potato piece with brackets
π Performers A & B.
Title: the title is announced as follows,
The Potato piece with Brackets [ ] engaging with the word to make some other sense.
a performer, A is speaking, with radio mike, seated in the auditorium imperceptible to the audience. The auditorium is darkn'd. The proscenium stage is floodlit lit centrally, emphasising attention for an audience on a 'table' and stool. The table has 3 largish potatoes evenly placed, balancing on the central hinged and slightly retracted folded top, elevating the potatoes. A microphone on a metal stand is adjacent to the stool.
A [ken]. voice “For what can remain over when the whole world is bracketed,
including ourselves and all our thinking.” Husserl.
Sequence 1.
performer B [jane] suddenly enters stage left. In profile moving frieze like upper torso flatt'nd to the audience - with even steps walking purposefully to centre stage. B. is holding both behind and in front two right angled metal brackets to the hip. B. stops then turning to align the body arms extended.
A. Voice, urging brackets!
stepping backwards, repositioning, lifting the brackets in line with either ear, bracketing the face.
A. Voice, normal brackets…..
extending the left arm and swivelling.
A. Voice, seeking definition, normalcy, that's normal!
with back, facing the audience B purposefully places the brackets either side the apex of the table
A. Voice, determined, common agreement, signs and rules, that's normal.
B. turns poised for a second or two then sits inclined over the mike one heel upturned positioned, leg extended, knee relaxed
performer A immediately stands uttering the word “this' just audible questioning moving through the audience to a central marker in the auditorium up to the stage and now facing the audience.
A. Voice, demonstrative/firm THIS
Sequence 2.
B. Voice to microphone, what! pause name it!
performer A extends and lifts the right hand. The left hand is glov'd, not visible. The right hand finds a line that is discernable from finger tip to wrist, through the arm to the elbow, then lifts gradually on count of 6, 7, 8, beat slightly up, upwards, then ¬¬- holding the line the finger suspends a beat.
A. repeatedly obsessively THIS!
performer A continues, the beat establish'd [6, 7, 8] this, [6, 7, 8], this 6, 7, 8, THIS! Stronger louder ss the hand arm finger in line continues to beat,
B. announcement. 'Tanoy voice' sounds like, can the owner of the blue car please remove it as it is blocking……. “Deconstruction is a challenge to the covert privileging of language by classical philosophy.”
C.
A. pause this, pause this,
B. “Deconstruction is not a defence of formlessness but a regulated overflowing of established boundaries.”
B. “the word 'this' has been called the only genuine name.
Sequence 3.
A. turns and steps up onto the stage, in one movement the left and glov'd hand emerges - firmly clasping a large potato, continuing the movement about turn, until positioned in profile to the auditorium the right hand draws a large carving knife. The potato is fixed to the point. The right arm lifts in line the hand finger to point at the potato.
A. Voice, high staccato THIS !
B. Voice, imperceptibly “before” “after”
A. Voice, this THING!
A. Voice, thisssssssssng thing
A. Voice this thissssing thing
A. in a gesture throwing the knife upwards the potato up and off the point of the knife; as the potato descends - cuts it clean into two pieces/ immediately,
LIGHTS darken
Sequence 4.
again immediately
LIGHTS up
B. takes a knife from the table surface, stands.
A/B Bow. A and B exit stage left.
Title: the title is announced as follows,
The Potato piece with Brackets [ ] engaging with the word to make some other sense.
a performer, A is speaking, with radio mike, seated in the auditorium imperceptible to the audience. The auditorium is darkn'd. The proscenium stage is floodlit lit centrally, emphasising attention for an audience on a 'table' and stool. The table has 3 largish potatoes evenly placed, balancing on the central hinged and slightly retracted folded top, elevating the potatoes. A microphone on a metal stand is adjacent to the stool.
A [ken]. voice “For what can remain over when the whole world is bracketed,
including ourselves and all our thinking.” Husserl.
Sequence 1.
performer B [jane] suddenly enters stage left. In profile moving frieze like upper torso flatt'nd to the audience - with even steps walking purposefully to centre stage. B. is holding both behind and in front two right angled metal brackets to the hip. B. stops then turning to align the body arms extended.
A. Voice, urging brackets!
stepping backwards, repositioning, lifting the brackets in line with either ear, bracketing the face.
A. Voice, normal brackets…..
extending the left arm and swivelling.
A. Voice, seeking definition, normalcy, that's normal!
with back, facing the audience B purposefully places the brackets either side the apex of the table
A. Voice, determined, common agreement, signs and rules, that's normal.
B. turns poised for a second or two then sits inclined over the mike one heel upturned positioned, leg extended, knee relaxed
performer A immediately stands uttering the word “this' just audible questioning moving through the audience to a central marker in the auditorium up to the stage and now facing the audience.
A. Voice, demonstrative/firm THIS
Sequence 2.
B. Voice to microphone, what! pause name it!
performer A extends and lifts the right hand. The left hand is glov'd, not visible. The right hand finds a line that is discernable from finger tip to wrist, through the arm to the elbow, then lifts gradually on count of 6, 7, 8, beat slightly up, upwards, then ¬¬- holding the line the finger suspends a beat.
A. repeatedly obsessively THIS!
performer A continues, the beat establish'd [6, 7, 8] this, [6, 7, 8], this 6, 7, 8, THIS! Stronger louder ss the hand arm finger in line continues to beat,
B. announcement. 'Tanoy voice' sounds like, can the owner of the blue car please remove it as it is blocking……. “Deconstruction is a challenge to the covert privileging of language by classical philosophy.”
C.
A. pause this, pause this,
B. “Deconstruction is not a defence of formlessness but a regulated overflowing of established boundaries.”
B. “the word 'this' has been called the only genuine name.
Sequence 3.
A. turns and steps up onto the stage, in one movement the left and glov'd hand emerges - firmly clasping a large potato, continuing the movement about turn, until positioned in profile to the auditorium the right hand draws a large carving knife. The potato is fixed to the point. The right arm lifts in line the hand finger to point at the potato.
A. Voice, high staccato THIS !
B. Voice, imperceptibly “before” “after”
A. Voice, this THING!
A. Voice, thisssssssssng thing
A. Voice this thissssing thing
A. in a gesture throwing the knife upwards the potato up and off the point of the knife; as the potato descends - cuts it clean into two pieces/ immediately,
LIGHTS darken
Sequence 4.
again immediately
LIGHTS up
B. takes a knife from the table surface, stands.
A/B Bow. A and B exit stage left.
posted by ken turner at 7:29 AM
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